The Sculpture Gallery is perhaps less attractive to the general public than are the pictures; still it contains some interesting works, and the tailors and milliners who were consulted by the art critics as to the details of the costumes of the portrait statues, gave their opinion that very few errors had been committed this year, thanks to the advice tendered by them at sundry lectures delivered on the subject last summer. Our statesmen and benefactors are no longer represented in dress, or undress, in which they were never beheld, but in the exact apparel which they actually wore; and future ages will be afforded a correct idea not only of their features, but of any bodily defects they may have laboured to conceal. Thus an archæological and historical interest will attach to these effigies, and truth will be upheld. Science has done much for this art also. Mechanical means have assisted this accuracy of representation—notably in the application of metal, which can now be applied to the dress, &c., where great elaboration of detail is required, so as to admit, for example, of stamping out patterns in lace ruffles, and imitating the very texture of the materials, while the resemblance to marble is perfect. Especially useful is this invention for the application of colour; and we defy anyone to detect the difference of substance without the closest observation, such as a skilful workman alone could bestow. The advantages offered by this discovery are obvious in the case of veiled statues, so much admired by the British public. (See Nos. 720 to 1,293.) We cannot bestow too much praise on the exquisite polish of surface and delicacy of the workmanship of many of these works, notably in the feathers of the bird’s wing in No. 2,320, “A Chinese Scullion plucking a Goose.” Compare this with the rude and uncouth attempts of the ancient Greeks to idealize the naked human form! _THEATRES._